It’s a drizzly day as I drive across the Queensboro Bridge to Sutton Place in Manhattan. I’m visiting Robert Rufino, a born-and-raised New Yorker and man about town who has had the kind of career that makes perfect sense in retrospect, but could hardly be planned in advance. As I walk into his foyer, the picture starts to come together. There are objects, paintings, furniture, and all manner of hints of a life well-lived.
The Far-Flung History of Basque Berets
In honor of a favorite item from our new fall line, we decided to do a deep dive into the history and culture of Basque berets, and found more than we bargained for.
A soft, round, cloth cap, often worn slightly askew, the beret is a signature hat that has long served multiple purposes, equally at home in high fashion and on a fishing dock. Though they later came to be popularized all over Europe, and indeed the world, berets are Basque in origin. The french term for the headgear is béret basque, and in Germany they refer to them as Baskenmützen. Even the Finnish respect the origins of the Beret, naming the hat baskeri.
In our opinion, the most iconic use of the beret lies in its origins. A fisherman in a beret has long been an icon of sailing fashion, rugged yet refined style. This is no coincidence. The lineage of this pairing traces all the way back to the 16th century, when Basque fishermen were the most successful and prolific in all of Europe.
Saddled between Northwestern Spain and Southeastern France, Basque land, and thus its culture, has always been deeply shaped by the ocean. Containing important ports on the Bay of Biscay, fishing and whaling quickly became integral to the Basque economy. Basques were actually among the first people to catch whales commercially, dominating the trade for five centuries. Whaling became so central to Basque culture that several towns and villages in Basque provinces proudly displayed whales and whaling scenes on their coat-of-arms. This practice continued from the 11th into the 17th century.
They were so skilled at whaling and fishing that by the early 17th century, other European nations entering the trade sought mentorship from the Basques. “They were then the other people who understood whaling,” wrote the English explorer Jonas Poole, and the French explorer Samuel de Champlain said of Basque fishermen that they were “the cleverest men at fishing.”
The industry of Basque fishing became invaluable to the European economy, particularly for Catholics. Basque mariners became especially good at catching and storing cod, a fish that has a bizarrely important place in Catholic history. Since Catholics cannot eat meat on Fridays, the 40 days of lent, and many saints’ days, fish is an important part of their diet. Due to its lack of fat, salted cod lasted longer than nearly any other fish that European Catholics had access to. The result? For many Catholics who lived far from the coast, cheap cod sourced from Basque fishermen was the only protein source that they could eat on Holy days.
This enormous hunger for cod combined with a growing market for whale oil created a massive demand for Basque fishing services. Overtime Basqu fishermen were forced to sail further and further away from the Iberian Peninsula in search of plentiful fish and whales. Soon this search took them all away across the entire Atlantic ocean. Basque fishermen suddenly found themselves in a New World.
As early as the 16th century, historians speculate that Basque fishermen made their way down the Atlantic Coast of North America, exploring Newfoundland and Labrador, and possibly even venturing all the way down to Massachusetts. This was well before the British ever settled in New England. The Basques went on to control fishing along the Northeast Coast of North America for over a century.
And if Basque fishermen were in America five-hundred years ago, it stands to reason that they brought berets with them. And they definitely looked great. So we’re not saying that the beret is the quintessential American hat, predating any other fashionable headwear later to be developed in the United States… but we’re not not saying that either.
QMS: We’re up here in Sutton Place, and I’m kicking myself for not having hung out around here before. It has a real old New York charm. I know you’re a native New Yorker who has stuck it out here for decades now. Tell me about growing up here.
Robert Rufino: Well I actually grew up downtown, in Chinatown, which was a much different place than it is today, more like a village than anything. My father drove a taxi, and my mother ran a card shop. I went to a missionary school, and really had a great childhood. A little bit after going to FIT where I majored in window display and merchandising, l had the good fortune to start my career at Henri Bendel on 57th Street, which was quite extraordinary.
QMS: Wow, as I understand it, that was THE store of that time in New York. What did you learn while you were there?
Robert Rufino: It was a very special place, almost like a private club. And at that time window dressing was an art form – we called it street theater. Working at Bendel opened my eyes to a whole new world. Not only did I design the windows at Bendel’s, but I was in charge of store design and merchandising. Early on I knew I was dyslexic, and I had a talent for putting things together. My eyes and hands were my tools – whether I was designing a fashion window or a beautiful still life.
QMS: It sounds like you’ve always had a keen eye for style. How did that translate into your career post-Bendel’s?
Robert Rufino: Bendel’s being what it was, I was so entrenched in fashion that it was very normal for me to go on to work in fashion magazines. What started in retail led to me becoming a fashion editor for many years, at various magazines like Elle Fashion to The New York Times, Harper's Bazaar, and others. Eventually, I was Vice President of Worldwide Creative Services at Tiffany & Co. for 13 years.
QMS: Then you made a shift back to magazines. What prompted that?
Robert Rufino: I felt I had accomplished what I wanted at Tiffany’s and it was an honor to design windows for this landmark American brand. I wanted to return to the magazine world, but not fashion. I had the good fortune to work for Stephen Drucker at House Beautiful for about three years. From there, I went to Architectural Digest, Elle Decor back to House Beautiful, and now I work for myself, contributing to Frederic (put out by Schumacher) and do other projects for various magazines like Elle Decor, Town & Country and Veranda. I also consult certain brands.
QMS: You've described yourself as a producer. Can you elaborate on that role in the context of editorial work?
Robert Rufino: Yes, I do prefer the term “producer” over “stylist”. As an editor with my experience, producing a shoot is like being an Art Director. You set the stage for the photoshoot. It's a collaboration between you and the photographer, especially for magazines with a distinct voice. You have to master the process of working, of evolving an idea into reality. Whether you're designing a window or a dress, you have an idea, but you don't know how it's going to look until you start draping fabric or putting it together.
QMS: Let’s shift to your personal style for a moment. What specific moments or experiences influenced your approach to dressing?
Robert Rufino: The late '70s and early '80s in New York were influential. It was a time of individual expression. People dressed so individually; there was an explosion of personal style with figures like Steven Burrows, Stephen Sprouse, Halston, Perry Ellis. People wore what they wanted, unlike today, where it feels like everyone is wearing more of a uniform.
QMS: How did that era shape your personal style?
Robert Rufino: It's all about how you put things together. It’s the way you wear your hat. Real style is something you have within you, not a trend. It's about finding what makes you comfortable and being yourself. For example, I’ve always loved wearing blue, even now. When I was at Tiffany’s I used to wear a lot of beautiful deep blue suits, but now I’ll wear jeans and a blue shirt, and maybe a sport coat instead of the full suit but it's still clean and classic.
QMS: What music were you listening to back then? What was the soundtrack to that era for you?
Robert Rufino: I was a big Supremes fan! Also, Marvin Gaye, Stevie Wonder, Aretha Franklin… so many artists. Roberta Flack, Eddie Kendricks, Diana Ross. I was a total Motown boy! But I always kept a little room for the Stones, the Beatles, and Janice Joplin.
QMS: You have all these great cultural reference points that the new generation hasn’t lived through. I’m curious, what are your thoughts on the younger generation and their approach to creativity and style?
Robert Rufino: In a way, all these young people have access to even more cultural reference points than I did growing up because of the internet. But I think you lose something when everything is so readily available. We had to search for everything ourselves, not just find it on the internet or Instagram. You know, shopping online is different, people aren't really looking at what they're buying – the fabric, the fit, the whole retail experience, which is what I grew up with. Life was simpler for us. But I know creativity finds a way to thrive in every generation, so the kids will be all right.
